Mayakovsky's work combines the best traditions of Russian classical literature and the innovation of the poetry of the socialist era.
Opponents of Mayakovsky tried to portray him as a nihilist, accused him of neglect of cultural heritage. Mayakovsky sharply objected to these fabrications. In response to the accusation of “destroying the classics,” he said in 1930: “I have never done this stupid thing ...”
Mayakovsky's attitude towards the greatest Russian poets of the 19th century testifies to how highly he valued the great masters of the classics.
When our country celebrated the one hundred and twenty-fifth anniversary of Pushkin's birth, Mayakovsky wrote a famous poem - "Jubilee" (1924) and in it expressed his deep love for the great poet. “I love you, but alive, not a mummy!” Mayakovsky passionately exclaims, protesting against the “textbook gloss” that pseudo-scientific pedants directed at the poet.
Mayakovsky highly appreciated Lermontov. He defended the poet from vulgar critics, ridiculing their attempts to declare him "an individualist, because in his poetry there are "whole choirs of heavenly bodies and not a word about electrification." In the poem "Tamara and the Demon" Mayakovsky used the images of Lermontov's poetry.
Inheriting the best traditions of the classics, Mayakovsky at the same time acted as an innovative poet. For the new content, he found new means of artistic expression. Artistic innovation was born new era in the development of mankind - the era of the proletarian revolution. In the struggle of the peoples of Russia for the victory of socialism, the personality of the poet was formed. The revolutionary era determined the content and nature of his lyrics, the originality of his poetic style, which so organically fused the realistic accuracy and concreteness of the image with the scale of the poetic vision of the world.
Bringing poetry closer to politics, Mayakovsky put art at the service of the revolution. A master of political posters and newspaper verse, he unusually widely and originally used the means and techniques of artistic convention in his work. His metaphor not only submits to a specific ideological design, but also incorporates the most important social associations of the era. Thus, for example, images of the revolution-flood are born, as well as the expanded image of the "army of verses". The hyperbolism characteristic of Mayakovsky's style becomes a political reflection of the intensity of social clashes characteristic of the revolutionary era and the gigantic scope of the country's socialist transformations. With an unprecedented breadth, Mayakovsky introduces into the poetic language a lively modern speech, socio-political phraseology of the era. His poetry is based on colloquial speech. “Most of the tone of things is built on colloquial intonation,” wrote Mayakovsky. It was no coincidence that he gave many of his poems names: “conversation”, “story”, “message”, etc. Most often in the works of Vladimir Mayakovsky one can hear the oratorical intonations of the poet-tribune, "agitator, leader."
Mayakovsky constantly fought against the false idea that there is a special "poetic language" that alone can be used to write poetry. He sharply criticized poets who wrote in conventional poetic jargon.
With the same energy he fought against literary clichés, beaten, dead, meaningless expressions. Mayakovsky widely used all the riches of the Russian language. When it was necessary, the poet did not neglect the old words: archaisms and Slavicisms. Mayakovsky often used neologisms - words created by himself. Their peculiarity is that they were created on the basis of commonly used Russian words and were always clear in their meaning: “Hammered, sickle Soviet passport”, “I love the bulk of our plans”, etc. Both these and other neologisms of Mayakovsky have the goal of most expressively revealing the content of the poem, its meaning.
Rhyme is very important in Mayakovsky's works. But the poet was not satisfied with the old way of rhyming. He often rhymes words, taking into account not only their endings, but also the preceding sounds, not only the literal coincidences of syllables, but also the consonances of words. Mayakovsky's rhymes are exceptionally varied and expressive.
It must be said that during the post-October years, Soviet poetry has put forward many names that have taken a place on a par with the greatest poets of the past. And we can safely say that in the entire history of Russian literature there has never been such a period when such an abundance and variety of poetic talents appeared in a relatively short historical period. Plekhanov and Selvinsky, Pasternak and Yesenin, Lugovskoy and Zabolotsky, Bagritsky and Prokofiev, Tvardovsky and Leonid Martynov, Svetlov and Aseev, Marshak and Antokolsky - this is a far from exhaustive list of the names of Mayakovsky's contemporaries that we can be proud of. And this is undoubtedly a huge wealth! Each of these writers is a bright original poetic value, each of them deservedly can be called a great poet.
And among these poets, we single out Mayakovsky, calling him not only "big", but also great. This man won a special place even among the best of our best poets.
Innovation
V.V. Mayakovsky in literature
Introduction …………………………………………………………………………2
1. Definition of innovation in the literature. V.V. Mayakovsky is one of
the brightest innovative poets …………………………………………………….6
2. The main features of Mayakovsky's poetic innovation
2.1. Innovation of the “poetic” dictionary ……………………………..9
2.2. Enriching the rhythm of the verse ………………………………………..16
2.3. The originality of the ways of rhyming ……………………………………………………………………………………………………………………………22.
2.4. expressiveness figurative system ………………………………25
Conclusion …………………………………………………………………..28
Brief bibliography ………………………………………………………31
I do not believe the verses that are pouring.
Rip - yes! M. Tsvetaeva
In 1928, V.V. Mayakovsky in his autobiography “ I myself” writes about his first poetic experiences: “ I re-read all the latest ... I dismantled the formal novelty. But it was foreign. Themes, images are not my life. I tried to write just as well, but about something else. It turned out the same about the other is impossible". It is from this youthful conviction of the author that one should proceed when speaking about the new that the poet has introduced into literature in a meaningful and formal aspect.
We must not forget that the best traditions of the literature of the past were embodied in Mayakovsky's work: passionate patriotism, ardent faith in Russia and its people, a truthful depiction of the life of the people in all its diversity, humanism, preaching the deep ideological content of literature, designed to serve the interests of the working masses.
With all this, Mayakovsky appears to us as an innovative poet, for he was a singer of the revolutionary era and “sought to merge with the revolutionary people not only the content, but also the form of his works” (M.I. Kalinin).
It seems to me that Mayakovsky's innovation should begin with the fact that his roots are not only in folklore and classical Russian poetry, but also a very solid part of the innovation of painters of the early twentieth century. It is known that the poet himself was a talented artist and painter. Such advanced artists as Malevich, Kandinsky, Picasso in their search new form on canvas are close to the creative search for the verbal form of V. Mayakovsky. But for V.V. Mayakovsky, the search for form was not an end in itself. The roots of the poet's innovation can be found in related areas of art, for example, in cinema. He liked to make his poems using the montage method, working with the word as with a film.
His innovative search for a new form was largely determined by the revolution. This was new in Russia. This new reality, according to Mayakovsky, had to correspond to poetry. Naturally, new intonations, aggressive notes, defiant poses appeared in his poems.
His past entourage could not understand why Mayakovsky "sold out to the Bolsheviks." They did not understand the main thing: the poet himself was a Bolshevik in essence. In the end, everyone agreed on the label "fellow traveler", with whom Mayakovsky did not part until the end of his days.
Having enriched Soviet poetry with deeply ideological, party-spirited works that met the interests of the people who had won the revolution, Mayakovsky was "an outstanding innovator of poetic form."
In my opinion, special attention in connection with the theme of innovation in Mayakovsky's work deserves early period creativity, held under the sign of futurism. It was futurism that predetermined such features of the author's aesthetics and poetics as a demonstrative rejection of the achievements of the previous culture, a kind of "shock therapy" through outrageous and satirical ridicule, passion for industrial and urban themes, revolutionary pathos, a passion for experimentation, the creation of new artistic forms, the use of new artistic means. Mayakovsky himself, assessing the role of futurism in his creative biography, writes: "For me, these years are a formal work of mastering the word."
Once another great poet, B. Pasternak said:
In verses I would bring the breath of roses,
mint breath...
Mayakovsky's creative creed sounds quite different. For him, the main thing is “a heart with the truth together”, a fusion of personal, lyrical and public, historical. Everything that happens in the world also happens in the heart of the poet. Politics for him becomes the same object of poetry as love. The author feels himself involved in history, and this involvement united the “personal” and “general” in his poems, directly including the first into the second.
Experiments with the word did not become an end in itself for him, but were regarded as a means of increasing the expressiveness of the verse. The work of Mayakovsky, even in the period of closeness to futurism, denied the principles proclaimed by this trend as its main orientation. So, the principle of a “self-made” word, a word outside of “everyday life and the benefits of life”, was clearly contradicted by the poet’s thesis: “We need a word for life. We do not recognize useless art." Despite some obscurity of poetic thought, already the tragedy "Vladimir Mayakovsky", and especially the poems that followed it "A Cloud in Pants", "Flute-Spine", "War and Peace", "Man" opened a completely new page in the history of Russian literature.
The poet enters socialist literature as a revolutionary romantic who resolutely rejected the world of capitalism, which covered the planet with blood; enters, deeply convinced that this insane, inhuman world is already being replaced by the world of the true masters of the planet and the universe.
This sincere desire to directly participate in the revolutionary renewal of life and art in the name of the happiness of millions is the source of Mayakovsky's innovation.
Considering the increased interest in the problem of Mayakovsky's method, as well as the fact that in domestic literary criticism over the past 20-30 years not a single conceptual work has appeared that comprehensively considers the poet's artistic work, I consider the chosen topic relevant. It is not easy to determine the nature of Mayakovsky's verse, and not only because Mayakovsky's verse is a multifaceted and complex phenomenon, but also because the question of the originality of Mayakovsky's rhythm, rhyme, and imagery has not yet been undeniably and definitively resolved in literary criticism. The systematization of the available materials is the more relevant, the deeper it allows you to penetrate into the essence of the poet's unique manner, to discover previously unnoticed analogies and connections. aim work, thereby revealing innovative means and techniques in the work of V. Mayakovsky. To achieve this goal, it is necessary to solve the following tasks, in accordance with which the logic of presentation of the material is built:
Define innovation in literature; to reveal the origins of innovation in the work of V.V. Mayakovsky.
Determine the features of innovation in the poetry of V.V. Mayakovsky:
innovation of the "poetic" word;
explain the rhythmic richness of Mayakovsky's works;
identify the originality of rhyming methods;
to show that "one of the great means of expression is the image."
The work consists of introduction, main part (two chapters), conclusion and short bibliography.
Chapter 1. Definition of innovation in the literature.
Mayakovsky is one of the brightest innovative poets.
The idea of an innovative poet is firmly connected with the name of Mayakovsky. No poet of the 20th century made such bold, radical changes in poetry. But this century raves about innovation. So much has never been said about him, there have never been so many contenders for the glory of a pioneer in art. But it turned out that innovation is subject to the general laws of the development of literature and art.
Innovation (from lat. Novator - renovator) - in fiction, something new, valuable for the people in the content and form of the work, which the progressive writer brings to fiction, capturing the new demands of the people, observing in life newly emerging phenomena, changing relations between people, new features of a person and finding appropriate artistic means for them to be realistically portrayed.
Such innovation is characteristic of Soviet literature, which for the first time created a gallery of images of the people of socialist society, sensitively and truthfully reflecting in its works everything new in the life of the Soviet country.
The deliberate desire for innovation in form, when it is not caused by the need to express new content, leads to harmful, empty and unprincipled art, to formalism.
For almost a century, the “saga of pioneering” convinces us that the emergence of new artistic forms is a complex process in which the social atmosphere, the power and nature of talent, literary interactions, traditions, and so on whimsically intersect. However, a comparison of the experience of Mayakovsky and his contemporaries leads to the idea that they take root and influence further development art, first of all, those discoveries that meet the needs of the time, contribute to the establishment of its progressive tendencies.
That is why the work of Mayakovsky, Blok, Yesenin is dear to us, because these poets undertake a search for the improvement of poetry and strive to merge their fate with the fate of the people. Mayakovsky took the boldest and most decisive step, turning poetry into an active participant in rallies, demonstrations, and disputes. Poetry came to the square, turned to the columns of demonstrators. “The streets are our brushes. Squares are our palettes.” These metaphors also apply to the word of the poet. Not a single apologist for formal experimentation has ventured into such experiments of turning poetry into a weapon of the masses. But it is precisely these searches for means of the unfailing influence of the poetic word on the consciousness, feelings, and actions of the masses that constitute an important feature of Mayakovsky's "creative laboratory". The poet recalled the traditions of troubadours and minstrels. But the character, and the purpose, and the scale of what he accomplished are unprecedented. His word is indeed the commander of human strength. His voice is the voice of the era.
What is it? Lyrics? Publicism? Mayakovsky has both, so to speak in " pure form". But the historical merit of the poet is the creation of a new type of lyric poetry, in which journalism becomes lyricism, and lyricism sounds journalistic. Of course, he did not make his daring experience out of nowhere. The poet himself named several poets and prose writers close to him: Nekrasov, Pushkin, Lermontov, Derzhavin, Gogol, Shchedrin, Dostoevsky ... different stages its development) are fundamentally interconnected phenomena. However, Mayakovsky's civic lyrics are a phenomenon of the 20th century. This is the lyrics of a personality who rejected "alienation" and plunged into Big world public, national and all-human interests and ties, worries and joys.
Mayakovsky's lyrics include a lot - history, politics, love, and life; and all this enters into his poetry not as a distant background, but is the main object of artistic representation.
Mayakovsky's talent is characterized by ethical breadth, if we like, monumentality. Therefore, his lyrics are epic in their own way.
The great poet Mayakovsky enters world literature not as the creator of a poetic school, but as the initiator of poetry, which has become an integral part of the new, socialist civilization. The canons of any poetic school are quickly exhausted, dying, but the influence of a living example of serving the poetic words of a great goal recruits many followers. To the well-known names - Nazim Hikmet, Geo Milev, Pablo Neruda, Paul Eluard, Nicolas Guillen and others - new and new heirs of Mayakovsky are added. Likening Mayakovsky's poetry to the dynamism of grandiose interplanetary rockets, Pablo Neruda noted that under its influence, all world poetry "transformed, as if it had survived a real storm."
Some are inclined to see the greatness of the poet in his sophisticated pictorialism. Indeed, Mayakovsky was an outstanding master of the artistic word, a reformer of verse. He enriched poetic vocabulary, introduced new principles of rhyme into poetry, modified poetic meters, increased the expressiveness and semantic capacity of each phrase, and began to print poems in a stepped line. But these innovations are only an integral part of Mayakovsky's innovation. The main thing lies elsewhere. The perception of the ideas of the socialist revolution, the comprehension of the meaning of the transformations became the main shaping factor of his work. The true significance of Mayakovsky thus lies in the fact that he was one of the first in world literature to be able to combine poetry with the ideas of the socialist revolution.
Chapter 2. The main features of Mayakovsky's poetic innovation.
Innovation of the "poetic" dictionary.
Having enriched Soviet poetry with deeply ideological, party-spirited works that met the interests of the people who had won the revolution, Mayakovsky was also an outstanding innovator of poetic form.
His innovation in form stems from his ideological innovation. This idea was repeatedly emphasized by the poet himself. So, in a speech at the debate “The Artist in the Theater,” he said: “All that volcano and explosion that the October Revolution brought with it requires new forms in art.” These words were said about the theater, but, according to Mayakovsky, they were also true in relation to literature.
The difficult and bold search for a new language of poetry, inseparable from the language of the revolution, is one of the most important, inalienable features of Mayakovsky's innovative activity.
Mayakovsky's innovation in poetry was manifested in the expansion of the so-called "poetic" vocabulary, and in the enrichment of the rhythm of the verse, and in the originality of the methods of rhyming, and in the expressiveness of his figurative system.
This innovation in form was determined by the poet's desire to convey by means of verse the complex and diverse world of Soviet man, his revolutionary enthusiasm, hatred for the exploitative world of violence and robbery. Continuing tradition of Pushkin and Nekrasov, expressed in demokralanguage, Mayakovsky sought to expand the boundariespoetic vocabulary, to bring into it the dialect of the crowd, the masses, underwho took up active revolutionary activity. Soin Mayakovsky's poetry we hear the voice of the class that has wonin the revolution of the people.
Thoughts on the need to expand the poetic vocabulary Mayakovsky repeatedly expressed even before the revolution. “We need a word for life,” he wrote in the article “Without White Flags.” “We do not recognize useless art. Each period of life has its own verbal formula. Our struggle for new words for Russia is caused by life. The nervous life of cities has developed in Russia, it requires fast, economical, jerky words, and in the arsenal of Russian literature there is one kind of lordly Turgenev village ”(Vol. 1 p. 370).
Undoubtedly, Mayakovsky spoke here not against the language of Turgenev's prose, but against the artificial restriction of the poetic vocabulary by the supporters of "pure art". For example, he ironically noticed that the poet Fet used the word “horse” 46 times in his poems and never noticed that horses were running around him.
“The horse is exquisite, the horse is everyday. The number of words "poetic" is negligible. “Nightingale” - you can, “nozzle” - you can’t ”(vol. II, p. 468).
Mayakovsky, learning from the “language-creating people”, boldly introduced “street talk” into his verses, making “everyday” words, considered “inelegant” by the decadents, the property of poetry.
“A relaxed intellectual tongue” (vol. X, p. 214) could not convey the full scale of the revolutionary events, and the poet argued that “the new must be spoken about with new words” (vol. II, p. 518).
That is why in the works of Mayakovsky we find "unpoetic" words: political, scientific, everyday, colloquial and even vulgarisms. In each case, the use of certain words is due to the ideological orientation of the work.
His post-October works included many words born of the revolution, characteristic of mass political speech: revolution, commune, communism, socialism, proletariat, slogan, decree, strike, party etc.
Without these words, it was impossible to write about the new Soviet reality.
The use of colloquial expressions, vulgarisms found in his poems (“a mandrill’s snout, brainless and two legs for kicking” - “Hooligan”, “lying, drinking coffee, cocoa”, - “Good!”, etc.) is explained by the poet’s desire to express intransigence towards enemies of the revolution and socialism, to find "scourge words", such that "they kill at once aiming."
In the poem “On rubbish”, addressed to “philistines without distinctions of classes and estates”, Mayakovsky, painting the “muzzle of a bourgeois”, does not hesitate in expressions, deliberately using rough vocabulary: “having been sore from five years of sitting backsides, strong as washstands”, “ from the samovar, unfastened", "figure at the ball in the Revolutionary Military Council", etc.
In order to make poetic speech more expressive, the poet sometimes resorted to the creation and use of new words - neologisms; in the pre-October period, more of them were created, in the post-October period - less.
Mayakovsky the poet is extremely active and resolute in relation to the word. If it seems insufficiently expressive, he boldly changes it, gives it a markedly updated look. The best of the neologisms he created are intelligible, generally understandable, and do not require any special explanations. Everyone who knows Russian will immediately understand what it means " hammered, sickle soviet passport, "hulk" our plans, "the scope of the step fathoms”, “communist far", which means "bronze multipath", what is "capital - its obscenity" and who are proseseated." These words are created by the poet on the model of other words. But they are not constructed by mechanically connecting the root of the word suffixes, as Khlebnikov, the immediate predecessor and teacher of Mayakovsky, often did in “word-writing”. Mayakovsky strives to ensure that the newborn word immediately enters the verse freely and naturally, so that it does not seem far-fetched, but is perceived as irreplaceable.
The word “reverence”, addressed to capital, is modeled on “reverence”, but its semantic content explodes the outwardly respectful form in which it is sarcastically enclosed, and the word is given a revealing, frankly mocking character. Neologism, like a pun, is metaphorical, associated with the combination in the word different values, sometimes close to each other, sometimes contrasting.
But, expanding the vocabulary, creating neologisms, the poet skillfully used all the achievements of the Russian literary language.
He understood very well that empty word-creation, abstruse poetry is not needed, and therefore he said:
« I will be the last idiot if I say: “comrades, copy Alexei Kruchenykh. his "holes, bool, schyl".
No, we say: “When you give a revolutionary fighting song, then remember that it’s not enough to give a random expression in this song that will turn up under your arm, but choose the words that generations of previous literature worked out before you. not to do the same job twice"(Vol. II, p. 526).
Struggling for a vivid and poetic speech, Mayakovsky sharply opposed the unnecessary use of foreign words(the poem “About fiascos”, “apogees” and other unknown things” and numerous statements in articles), as well as against hackneyed, expressionless phrases like “passes like a red thread”, “reached its climax”, “reached the climax” , "failed".
Mayakovsky loves to "shift" foreign words, which are not inclined in Russian, and decline them contrary to grammatical rules. The words are perceived satirically-reduced: “Poincaroy”, “kerzonite”, “mussolinize”, “tighten”, “guzzle and turn away”.
In an effort to figurative speech, the poet uses folk proverbs, sayings, stable phraseological combinations, in some cases modifying them somewhat.
Proverb: “The claw is stuck - the whole bird is abyss” in the poem “Good!” sounds Mayakovsky:
... if
In Russia
the claw gets stuck,
all
bourgeois bird -
abyss.
The folk expression "pulverize" also finds use in the poem:
Are they climbing?
Good.
Let's grind to powder.
Mayakovsky stubbornly selects from the "artesian human depths" words that contribute to the best expression of a poetic idea; he exhausts "a single word for the sake of a thousand tons of verbal ore."
Resolutely introducing new turns, linking them with old, familiar expressions, proverbs, sayings, Mayakovsky himself accurately said this: “Translating my poems is especially difficult also because I introduce ordinary conversational into the verse (for example,“ shine - and no nails ”- try to translate this!), sometimes the whole verse sounds like this kind of conversation. Such verses are understandable and witty only if you feel the system of the language as a whole ... "
The article "How to make poetry" gives one example of the poet's work on the word. For example, he rejected 11 line options in order to finally choose the twelfth one, which begins the final stanza of the poem "To Sergei Yesenin." The result was a mobilizing stanza:
For fun
our planet
little equipped.
Necessary
snatch
joy
in the coming days.
In this life
it's not hard to die.
Make a life
much more difficult.
(t. VIII, p. 21)
Careful work on the word allows the poet to achieve a concise and vivid speech characterization of the characters. Just remembering is enough comrade from the military bureau and a Putilov worker, the heroes of the poem "Good!" To see this.
The syntax of Mayakovsky's poetry is also peculiar. Its features will be quite understandable, given the poet's orientation to the oratorical, colloquial intonations of the verse.
“Most of my works are built on colloquial intonation,” the poet said.
Mayakovsky created an "audible word": it should sound at a rally, in an audience, on the radio. This setting for "conversation" is even emphasized by the title of a number of the poet's works: "A Conversation with the Financial Inspector about Poetry", "A Conversation on the Odessa Roadstead of Two Landing Ships...", "A Conversation with Comrade Lenin". The poems “Left March”, “To Sergei Yesenin”, “Messages to Proletarian Poets” and a number of others are built on colloquial intonations, meeting and friendly-heartfelt.
“Poems addressed to the people,” the poet declared, “must be read aloud. I can’t imagine a person who is able to mentally or in a whisper pronounce such, for example, Pushkin’s lines:
While we burn with freedom
As long as hearts are alive for honor,
My friend, we will devote to the fatherland
Souls are wonderful impulses.
(From the memoirs of A. Zharov).
Naturally, in works intended for conversation, exclamations and questions, appeals and imperative turns, interjections and pauses are often found; words are often skipped, but the meaning of the phrase in the context is always clear.
The "Left March", for example, is entirely built as an invocative oratorical speech containing appeals, questions, calls, and motivations for action.
Hey blueblouses!
Reite!
For the oceans!
Or
battleships on the road
sharp keels stepped on?!
Mayakovsky's syntax conveys all the intonations of colloquial speech: both a gentle whisper, and a passionate appeal, and a calm narration, and a sharp order.
Enriching the rhythm of the verse
Mayakovsky thought about "how to introduce colloquial in poetry and how to derive poetry from these conversations” (vol. X, p. 214). And he successfully solved this two-pronged problem.
The craving for colloquial intonations determined and originality of rhythm Mayakovsky. Poetic speech, unlike prose, is rhythmic.
“… rhythm is the basis of every poetic thing…” the poet wrote. “Rhythm is the main force, the main energy of the verse” (vol. X, p. 231).
Rhythmically, Mayakovsky's poems are extremely diverse and cannot be entirely attributed to any one system of versification, as some researchers did.
Researchers of Mayakovsky's work are unanimous in asserting that his rhythmic system represents a new stage in the development of Russian verse, but what this novelty is, different scholars interpret in different ways, but agree that his verse is very diverse.
In a number of works on Mayakovsky, there were attempts to oppose the rhythmic structure of his verse to classical traditions.
The poet himself objected to this. “We don’t have to swear at the poetry of the past - this is educational material for us,” he wrote in the article “How to make poetry” (vol. X, p. 211)
In the same connection, he said: “Iamb, free verse, alliteration, assonance are not created every day. You can work on their continuation, implementation, distribution” (vol. X, p. 216).
Mayakovsky has many works written in classical meters, that is, in syllabo-tonic verse. So, “An Extraordinary Adventure ...” was written in iambic with alternating four-foot lines with three-foot ones, “Crimea” (“I walk, I look ...”) - in iambic three-foot, “Leo Tolstoy and Vanya Dyldin” - in four-foot trochee.
This is easy to verify if in any of these poems we designate stressed and unstressed syllables:
In a hundred and forty suns the sunset burned,
summer rolled in july
it was hot
the heat floated, -
it was at the cottage.
In classical verse, the lines usually consist of the same number of stops. Mayakovsky often writes in variegated verse, when short lines with a small number of stops alternate with long lines consisting of a large number stop. Often Mayakovsky moves from one meter to another within the same poem.
Here are a few lines from the poem "About pedestrians and razin":
Along Petrovka
go vehemently
couples
compressed like a sardine...
with might and main
buses
roar.
In vain howl
vain labor.
If in the first two lines we find a trochee, then in the next two - iambic. Such a verse is called multi-strike.
However, the attempts of some researchers to fit all of Mayakovsky's poems under the syllabic-tonic system are unsuccessful: most of his works are written in tonic verse, which is based "on a more or less equal number of rhythmic stresses in poetic lines, regardless of the number of syllables in a line and the number of unstressed syllables between stresses." (L. Timofeev and N. Vengrov. "A Brief Dictionary of Literary Terms" Uchpedgiz, 1952 p. 7)
The tonic principle of verse forms the basis of Mayakovsky's poetic work. Strictly speaking, tonic verses are what they mean when they talk about Mayakovsky's innovation in the field of poetic lyrics.
Let's take a quatrain from "Poems about the Soviet passport":
Along the long front
compartments and cabins
official
courteous
is moving.
Handing over passports
and i surrender
mine
purple little book.
Having placed the stresses, one can notice that in this work the four-stress verse alternates with the three-stress one, while the number of unstressed syllables in each line is different (7-6-5-6), and it is impossible to establish regularities in the arrangement of stressed and unstressed syllables.
The rhythmic richness of the works of V.V. Mayakovsky is explained by his desire to convey the whole variety of colloquial intonations, for he was guided by the “audible word” and each time, depending on the audience, strove to “take intonation - persuading or pleading, ordering or questioning” (vol. X, p. 243).
The rhythmic structure of the verse often changes with Mayakovsky, even in the same work. In the poem "150,000,000", the transition from the story about Ivan to the description of America begins with the words:
Now
Let's turn the wheel of inspiration.
Nano rhythm measure.
This change in rhythm is always determined by the content of the verse, the nature of the images and pictures drawn by the poet.
A good example confirming this idea is the poem "Good!", where in each chapter there is a new "rhythm measure".
In Mayakovsky's verse, rhythm-forming role is played by pauses. However, they not only “complete” the missing syllable, but also highlight the word following the pause, to which the poet draws the reader’s special attention. Such a pause occurs before the fourth line in the poem "To Sergei Yesenin" (the first stanza), it is often found in the poem "Good!". Here is one of the most striking examples:
Petersburg windows,
Blue and dark.
City
sleep
and shackled with peace.
But...
not sleeping
Madam Kuskova.
The third stanza, which rhymes with the first, is four-strike, and consists of only one word. In order not to “break” the rhythm, after “but” a long pause should be made, which highlights the following words, emphasizes the author’s ironic attitude to “Madame Kuskova”.
The desire to strengthen the semantic significance of the word explains the construction of Mayakovsky's verse "ladder"; it also influences the rhythm of the verse.
The poet himself wrote about the semantic role of the “ladder”: “Our usual punctuation with periods, commas, question and exclamation marks is too poor and inexpressive compared to the shades of emotions that a complicated person now puts into a poetic work.
The size and rhythm of a thing is greater than punctuation, and they subdue punctuation when it is taken according to the old pattern.
Still, everyone reads the verse of Alexei Tolstoy:
Shibanov was silent. From a pierced leg
Crimson blood flowed like a current ...
as -
Shibanov was silent from his pierced leg...
Pretty, shame on me
To humiliate myself before a proud Pole...
reads like a provincial conversation:
I'm pretty ashamed...
To read the way Pushkin thought, you need to split the line the way I divide it:
Enough,
I'm ashamed...
With such a division into half-lines, there will be no semantic or rhythmic confusion. The section of lines is often dictated by the need to drive the rhythm unmistakably, since our condensed economic structure of the verse often makes us throw out intermediate words and syllables, and if after these syllables we do not stop, often more than between lines, then the rhythm will break off ”(vol. X, p. 244).
Not the number and arrangement of syllables hold the line together, but intonation and semantic emphasis. That is why Mayakovsky resorts to the original graphic design of the verse: he breaks the line, prints it with a "ladder". Each selected segment becomes, as it were, a step, prompting the reader to pause, change intonation - the poet lacked the usual punctuation marks, stop signs before an “obstacle”, an obstacle. This innovation - a ladder - remains unusual to this day, but with Mayakovsky it is most appropriate, since his poems (poems of an agitator) are intended to be read aloud.
From the poem "Special Opinion":
quagmire
junk
not good for us
her
machine
squeeze to the bottom.
Don't stick
to work
wedges -
and we have
and the mass
and one thought
and one
general line.
The peculiarity of the ways of rhyming
Rhyme plays an important rhythmic and semantic role in Mayakovsky's tonic verse. “... without rhyme (understanding rhyme broadly) the verse will crumble,” the poet asserted. “The rhyme brings you back to the previous line, makes you remember it, makes all the lines that form one thought stick together.”
Mayakovsky always strove to put the most characteristic word at the end of a line, "getting" a rhyme to it at all costs.
In other words, Mayakovsky rhymed the words that carry the main semantic ideological charge in the poem. In this regard, it is interesting to look at the end of the sixth chapter, "Good!". At the beginning, it refers to the events that took place under capitalism. But then the October Revolution took place, which opened a new era in the history of mankind - the era socialism. And Mayakovsky emphasized this fact by rhyming the most important word in terms of meaning:
Dul,
as always,
October
winds.
rails
ridiculed over the bridge,
race
my
trams continued
already -
under socialism.
Mayakovsky's rhymes are always unexpected, his methods of rhyming are diverse.
Mayakovsky does not reject the old ways of rhyming, when stressed vowels and the consonants following them coincide in rhyming words.
But he often has the same sounds that precede the final stressed vowel (most often the supporting consonants coincide).
It is characteristic that the poet takes into account the nature of the pronunciation of words and rhymes the lines not for the eye, but for the ear: the prince - to shave, the saints - to take off.
It should be noted that in this respect Mayakovsky, as it were, follows Pushkin, who in one of his articles asked: “How can you always rhyme for the eyes, and not for hearing?” Enriching the methods of rhyming, Mayakovsky uses compound rhymes: bombs - forehead, little grief for them - categories, grow up to a hundred - without old age, hammer and verse - youth.
He has rhymes - homonyms, striking with the unexpectedness and completeness of consonance: behind the waters - factories, barony - ram, howl of the world - world, put on - in fact, etc.
And the poet was right when he asserted that his rhyming is “almost always extraordinary” and in any case before him “... they were not used and it is not in the rhyming dictionary” (vol. X, p. 236).
With rhyme, Mayakovsky connects the entire sound design of the verse. Thus, he often resorts to alliteration, the repetition of identical consonant consonants "for framing, for even greater emphasis on an important word for me" (vol. X, p. 242). It can be seen from these words that rhyme and alliteration serve the same purpose for Mayakovsky - to emphasize, to highlight an important word in the verse (crown - conquered, yours - march, Mauser - slander). In general, when words are written, it seems. that the rhyme is unsuccessful, and when you pronounce them, the endings coincide.
However, highlighting, underlining the right word, thoughts in verse serve not only rhyme and alliteration, but even lack of rhyme. Let us recall the verses from the third part of the poem "Vladimir Ilyich Lenin":
five pointed stars
burned on our backs
pansky governors.
Alive
head to the ground
gangs buried us
Mamontov.
In locomotive furnaces
the Japanese burned us,
the mouth was filled with lead and tin.
Four lines - and none of them rhyme, but meanwhile all the previous and subsequent lines are rhymed. The absence of rhyme in this case is a kind of italicization of lines. The reader involuntarily pays special attention to these lines, and this is what the poet needs, who wants to say: no torture could make people cry, show their weakness, but death makes them squeeze “a groan out of iron”, causes sobs.
The expressiveness of the figurative system
Making his verse more expressive, Mayakovsky strove for figurative expression of thoughts. He believed that "one of the great means of expression is the image"; at the same time, the image, in his opinion, should always be tendentious, that is, have a political orientation.
The selection of images from the poet is such that we always see how the poet relates to the depicted, whether he is worth behind or against.
In the poem “Vladimir Ilyich Lenin”, the leader of the revolution is presented as a great navigator, guiding the Soviet Union after the victory of October. hulk ship"smoothly into the world, construction and docks". And in this comparison of Lenin with the navigator, we feel the deepest respect for the wise, courageous, resolute person who confidently leads the ship-country across the ocean of revolution to a new, joyful life.
Does Mayakovsky resort to comparisons, metaphors, metonymy whether he uses epithets, he always strives to make the image "visible", "weighty".
When the poet in "Poems about the Soviet Passport" resorts to comparison, reporting that the official takes, “as if taking a tip, an American’s passport,” then we see his lackey obsequiousness and feel the contemptuous attitude of the Soviet poet, the representative of the great Soviet state, towards him.
Hyperbolic comparisons in describing how an official takes a “red-skinned passport” emphasize the horror of a servant of the bourgeoisie when confronted with a representative of a country he hates.
A lot of bright comparisons can be found in the poem “Out loud”: “My verse with labor will break through the vastness of years and appear weighty, rudely, visibly, how the plumbing, worked by the slaves of Rome, entered our days»; the poet calls on readers of subsequent generations to feel the "pieces of iron of the lines" like an old but formidable weapon”, the structure of books is compared with a parade of troops:“ I will raise how Bolshevik party card, all one hundred volumes of my party books.
This work also contains expressive epithets (« aimed, gaping titles", "rough poster language”, “I am a sewer and a water carrier, mobilized and called by the revolution") and metaphors(“Let the geniuses inconsolable widow fame is woven in a funeral march", "out of years remnants of words will float such as "prostitution", "tuberculosis", "blockade"), and metonymy("I don't give a damn about bronzes multipath I don't care about marble slime"," They told us to go under the red flag years of work and days of malnutrition”).
The specificity of imagery is also combination of authenticity and fiction. Such an alloy creates a kind of surrealistic model of reality:
Here comes the evening
into the night terror
left the windows
frowning,
December.
In decrepit back they laugh and neigh
candelabra.
(poem "Cloud in pants")
In the poem “The Sitting Ones,” the technique of fantastic grotesque is used: taking the common phrase of officials “there are so many things to do that even break,” the poet realizes this situation: “... I see: / half of the people are sitting. / O devilry! / Where is the other half?
All these artistic means, all images are subject to Mayakovsky's main, main task: to express his thought as clearly and clearly as possible, so that the poetic word becomes the "commander of human strength", calls the reader to fight for the triumph of the ideas of communism.
Mayakovsky's desire for a clear, precise, figurative expression thoughts affected the quality of the verse: many of the poet's lines became aphoristic and entered colloquial speech.
“By the richness of the sayings introduced into the language of his people, Mayakovsky can be placed next to Griboyedov: like the verses of an immortal comedy, catchphrases Mayakovsky diverge from mouth to mouth. We hear them from the podium and on the street, we read in the headlines of articles and notes: “both the song and the verse are a bomb and a banner”, “The word is the commander of human strength”, “More good and different poets”, “Life is beautiful and amazing ”, “The garden is in bloom!” and many others, clearly and deeply expressing our feelings and thoughts.
All these artistic features Mayakovsky's poetry characterizes him as an outstanding poet who assimilated and developed the best traditions of the literature of the past and at the same time became an innovator, the "Columbus" of Soviet poetry.
Conclusion
Mayakovsky sees the “inevitability of the collapse of the old” and by means of art anticipates the coming “world revolution” and the birth of a “new humanity”. “ Break into tomorrow, forward!” - that's his motto. Poetry
- all! --
riding into the unknown.
This unfamiliar, unknown becomes the subject of his poetry. He is wide uses contrast: dead objects come to life in his poetry and become more animated than living ones. Mayakovsky's poetry, with its urbanistic-industrial pathos, contrasts the image of a modern city of many thousands with its busy streets, squares, honking cars - pictures of nature, which seems to him something inert and hopelessly dead. The poet is ready to kiss the “smart muzzle of the tram”, he sings of the city lamp, which “removes from the street blue stocking”, while his moon is “flabby”, “useless to anyone”, and the girl’s heart is lifeless, as if “boiled in iodine”. The poet is convinced that a new word can only be said in a new way. Mayakovsky is a pioneer who owns the word and vocabulary, like a bold master, working with his material according to his own laws. Him its construction, its image, its rhythm and rhyme. The poet fearlessly breaks the usual poetic form, creates new words, introduces into low poetry and vulgar language. In relation to the greatest phenomena of history, he adopts a familiar tone, he speaks of the classics of art with disdain:
Take the classics
roll up into a tube
and passed through a meat grinder.
All his poems are deeply personal., it is present in each of them. And this concrete presence becomes a reference point, a coordinate system in the unrestrained flow of his imagination, where time and space are displaced, where the great seems insignificant, and the intimate, intimate grows to the size of the universe. With one foot he stands on Mont Blanc, with the other on Elbrus, with Napoleon he is on “you”, and his voice (“yelling”) drowns out the thunders.
He is the Lord God, who creates his own poetic world, regardless of whether anyone likes his creation. He does not care that his deliberate rudeness can shock someone. He is convinced that everything is allowed to the poet. As a daring challenge and “a slap in the face of public taste”, the lines from the poem “Nate!” sound:
And if today I, a rude Hun,
I don’t want to grimace in front of you - and now
I will laugh and spit joyfully,
spit in your face
I - priceless words spender and mot.
Mayakovsky is characterized by a completely new vision of the world, he seems to turn it inside out. The familiar appears in his poetry as strange and bizarre, the abstract becomes tangible, the dead becomes alive, and vice versa: “ Tears of snow with flag reddened eyelids”; “The boats nestled in cradle entrances / to the nipples of iron mothers”.
Mayakovsky's poetry speaks not only in the language of images and metaphors, but also widely uses the sound and rhythmic possibilities of the word. A vivid example is the poem “Our March”, where you can literally hear the beat of drums and the measured step of the marching columns:
Days bull peg.
Slow years cart.
Our god is running.
Our heart is a drum.
Mayakovsky changed not only poetry, but also the previous idea of it. He became the mouthpiece of the ideas and moods of the era. His poetry is the “weapon of the masses”, he brought poetry out of the salons on the square and forced it to march along with the demonstrators
The poet did not have enough time to rethink his work. He wanted to attach poetry to the state, so that the need for poetry would be equated with the need for a bayonet. Mayakovsky dreamed of poetry screaming from the stage. Only the last came true: in the 60s, poetry fulfilled the precepts of Mayakovsky, but could not hold out on the stage for a long time.
But that's the way it should be. Poetry is a solitary and highly traditional affair. Innovation in poetry can be realized rather in the freshness of feeling, rather than forms.
Much in the work of Mayakovsky is difficult, and sometimes impossible to accept. But, when evaluating his works, one should remember that poetry is a fact of biography, and it is created according to the same laws as the surrounding reality. The time when Mayakovsky lived was the time of many cataclysms in the fate of the country, the time of searching for new ways of its development, and it left its mark on the poet's work. In an attempt to achieve the ultimate level of expression that would meet the new content of life - be it love, politics, art - Mayakovsky creates his own, original creative method. The author set his goal to write “just as good, but about something else” - with an emphasis on “good”, in this case. What he left behind - new, undoubtedly talented - proves that the poet achieved the implementation of his plan.
Brief bibliography
Vladimirov S.V. On the aesthetic views of Mayakovsky, "Soviet Writer", 1976
Stanchek N.A. Studying the lyrics and poems of V.V. Mayakovsky at school, A guide for the teacher. L., "Enlightenment", 1972
Mayakovsky V.V. Works in two volumes, M.: Pravda, 1987
Mayakovsky V.V. Selected Works, "Children's Literature", Moscow, 1956
Mayakovsky's work combines the best traditions of Russian classical literature and the innovation of the poetry of the socialist era.
Opponents of Mayakovsky tried to portray him as a nihilist, accused him of neglect of cultural heritage. Mayakovsky sharply objected to these fabrications. In response to the accusation of “destroying the classics,” he said in 1930: “I have never done this stupid thing ...”
Mayakovsky's attitude towards the greatest Russian poets of the 19th century testifies to how highly he valued the great masters of the classics.
When our country celebrated the one hundred and twenty-fifth anniversary of Pushkin's birth, Mayakovsky wrote a famous poem - "Jubilee" (1924) and in it expressed his deep love for the great poet. “I love you, but alive, not a mummy!” Mayakovsky passionately exclaims, protesting against the “textbook gloss” that pseudo-scientific pedants directed at the poet.
Mayakovsky highly appreciated Lermontov. He defended the poet from vulgar critics, ridiculing their attempts to declare him "an individualist, because in his poetry there are "whole choirs of heavenly bodies and not a word about electrification." In the poem "Tamara and the Demon" Mayakovsky used the images of Lermontov's poetry.
Inheriting the best traditions of the classics, Mayakovsky at the same time acted as an innovative poet. For the new content, he found new means of artistic expression. Artistic innovation was born of a new era in the development of mankind - the era of the proletarian revolution. In the struggle of the peoples of Russia for the victory of socialism, the personality of the poet was formed. The revolutionary era determined the content and nature of his lyrics, the originality of his poetic style, which so organically fused the realistic accuracy and concreteness of the image with the scale of the poetic vision of the world.
Bringing poetry closer to politics, Mayakovsky put art at the service of the revolution. A master of political posters and newspaper verse, he unusually widely and originally used the means and techniques of artistic convention in his work. His metaphor not only submits to a specific ideological design, but also incorporates the most important social associations of the era. Thus, for example, images of the revolution-flood are born, as well as the expanded image of the "army of verses". The hyperbolism characteristic of Mayakovsky's style becomes a political reflection of the intensity of social clashes characteristic of the revolutionary era and the gigantic scope of the country's socialist transformations. With an unprecedented breadth, Mayakovsky introduces into the poetic language a lively modern speech, the socio-political phraseology of the era. His poetry is based on colloquial speech. “Most of the tone of things is built on colloquial intonation,” wrote Mayakovsky. It was no coincidence that he gave many of his poems names: “conversation”, “story”, “message”, etc. Most often in the works of Vladimir Mayakovsky one can hear the oratorical intonations of the poet-tribune, "agitator, leader."
Mayakovsky constantly fought against the false idea that there is a special "poetic language" that alone can be used to write poetry. He sharply criticized poets who wrote in conventional poetic jargon.
With the same energy he fought against literary clichés, beaten, dead, meaningless expressions. Mayakovsky widely used all the riches of the Russian language. When it was necessary, the poet did not neglect the old words: archaisms and Slavicisms. Mayakovsky often used neologisms - words created by himself. Their peculiarity is that they were created on the basis of commonly used Russian words and were always clear in their meaning: “Hammered, sickle Soviet passport”, “I love the bulk of our plans”, etc. Both these and other neologisms of Mayakovsky have the goal of most expressively revealing the content of the poem, its meaning.
Rhyme is very important in Mayakovsky's works. But the poet was not satisfied with the old way of rhyming. He often rhymes words, taking into account not only their endings, but also the preceding sounds, not only the literal coincidences of syllables, but also the consonances of words. Mayakovsky's rhymes are exceptionally varied and expressive.
It must be said that during the post-October years, Soviet poetry has put forward many names that have taken a place on a par with the greatest poets of the past. And we can safely say that in the entire history of Russian literature there has never been such a period when such an abundance and variety of poetic talents appeared in a relatively short historical period. Plekhanov and Selvinsky, Pasternak and Yesenin, Lugovskoy and Zabolotsky, Bagritsky and Prokofiev, Tvardovsky and Leonid Martynov, Svetlov and Aseev, Marshak and Antokolsky - this is a far from exhaustive list of the names of Mayakovsky's contemporaries that we can be proud of. And this is undoubtedly a huge wealth! Each of these writers is a bright original poetic value, each of them deservedly can be called a great poet.
And among these poets, we single out Mayakovsky, calling him not only "big", but also great. This man won a special place even among the best of our best poets.
The writing
Mayakovsky's innovation manifested itself primarily in the variety of styles, genres, and manners of writing that he used. It is natural, therefore, that the early work of the poet developed in the canvas of Russian futurism:
* I immediately smeared the map of everyday life,
* splashing paint from a glass;
* I showed on a dish of jelly,
* oblique cheekbones of the ocean.
Imagery, the use of colors as symbols, the development of metaphors and at the same time the brevity of the presentation of the idea - these are the qualities that Mayakovsky learned from the futurists. But in the post-October period, his poetry is completely different. Here appears the very clear, hard, measured rhythm that is so familiar to us:
* ... Chest forward brave!
* Paste the sky with flags!
* Who is walking right there?
* Left!
* Left!
* Left!
In this passage, every word sounds like a hammer blow, like a death sentence. Here the skill of Mayakovsky is fully manifested. The poet's love lyrics remain a mystery to us to this day. On the one hand, he sings of love like a torch, like a star, like the sun. He writes about love as about an indomitable force, to which “... a hurricane, fire, water rise in a murmur. Who will be able to cope? Can you? Try…”. Love is like a fire - that's his understanding. But on the other hand, he considers it unacceptable to "squander" his time on such a "useless" thing. Two people appear before us - a man-duty and a man-poet, who exist in eternal conflict.
Mayakovsky is known not only as a poet, he tries himself in prose, dramaturgy. His "Mystery-buff" is on at one of the theaters in Petrograd. For a poet, nothing is permanent - he tries to cover the whole spectrum literary creativity. "Sickle-hammered", "eagle", "unsheathed" - words familiar to us from childhood. The neologisms he invented live to this day. Work in the ROSTA windows played a big role in the artistic development of Mayakovsky. In his own words, he "... cleared the language of poetic husks on topics that do not allow verbosity." Another facet of Mayakovsky's talent is also manifested there - the talent of the painter. Entire generations of people know his propaganda posters and signatures under them:
* Eat pineapples, chew grouse,
* Your last day is coming, bourgeois.
Causticity, topicality, brightness, accuracy - all these epithets are suitable for them. The agitational talent of the poet began to manifest itself in his public speaking. No one could speak like him at rallies. At a meeting of workers in New York, “thousands of sparkling eyes were fixed on the stage. They waited with bated breath for the "hero of the latest Soviet poetry." Mayakovsky led the people behind him, even "... stepping on the throat of his own song." In addition to all this, Mayakovsky also possessed amazing organizational skills. It was he who, together with David Burliuk, was the "founding father" of Russian futurism. On his shoulders was such a giant of the literary industry as Lef. And at the same time, he found time to arrange creative evenings, Trips around the country, abroad, and write, write, write ...
Mayakovsky is a very extraordinary personality, a multifaceted talent. He managed to reflect in his work an entire era - the time of selfless builders of their future, the time of the overthrow of the autocracy, the time of the turning point. You can treat his poetry in different ways, but one thing is indisputable: Mayakovsky is a real talent that cannot be drowned out, that lives forever!
* Listen!
* After all, if the stars
* ignite -
*means - does anyone need it?
* So ~ it is necessary.
* to every evening
* over rooftops
* at least one star lit up ?!
crashes with a run.
Comes
worst of depreciation
depreciation
hearts and souls.
Eternal, not related to the topic of the day, not dictated by agitprop and social order, themes arose in Mayakovsky's poems not “under the mandate of duty”. They sounded dissonant in the Soviet era of official life-affirmation. Then something completely different was required. Here is how Nikolai Tikhonov formulated these demands in his speech at the First Congress of Writers: “The new humanity rejected the theme of world sorrow as unnecessary. We aspire to become masters not of world sorrow, but of world joy.”
Mayakovsky was by nature a tragic poet. About death, about suicide, he wrote from his youth. “The motive of suicide, completely alien to the futuristic and Lef theme, constantly returns in the work of Mayakovsky,” R. Yakobson noted in the article “On the generation that squandered its poets.” “He is trying on all the options for suicide ... The unprecedented pain of the present time has been nurtured in the soul of the poet.” The motive of death, suicide sounds in Mayakovsky as eternal, universal. Here he is a free poet, he has no agitational, didactic, pragmatic goal, he is not bound by any group obligations or polemics. His poems are deeply lyrical, truly relaxed, in them he really talks “about time and about himself”.
Inner freedom, true inspiration animate Mayakovsky's poems about love (they, of course, belong to the pinnacle of achievements love lyrics XX century), about the revolution, about poetry. In these verses he is a great poet, “a magnificent beacon”, as E. Zamyatin said about him, in his work one can hear the “terrible and deafening” rumble of a mighty historical stream. Mayakovsky has such a powerful voice that, without straining it, he turns to the universe, to the universe:
Look how quiet the world is
The night covered the sky with star tribute.
At times like these, you get up and say
centuries, history and the universe...
The most penetrating lines of Mayakovsky, the tragic nerve of his poetry, are in the great, intoxicating dream of a future happy humanity that will atone for all today's sins and crimes, of a future where there will be no troubles and suffering. In the poem “About this”, he refers to a scientist who in the distant future will be able to resurrect people, give them a new life full of happiness:
thirtieth century
overtake flocks
hearts torn by trifles.
Now unloved
catch up
the stardom of countless nights.
Resurrect
even if for
waiting for you, throwing everyday nonsense!
Resurrect me
even for this!
Resurrect -
I want to live my life!
The energy and strength of Mayakovsky's resilient, powerful line feeds on this faith. The last lines he wrote are about the power of a free word that will reach descendants through the heads of governments:
I know the power of words, I know the words of the alarm,
They are not the ones that the lodges applaud
From such words the coffin breaks
walk with four of your oak legs.
It happens that they throw it away without printing it, without publishing it.
But the word rushes, tightening the girths,
centuries ring, and trains crawl
lick poetry's callused hands.
Truly, this is “a verse flying on strong wings to a providential interlocutor” (O. Mandelstam).
No matter how controversial and contradictory Mayakovsky's work may seem today, he was and remains one of the greatest Russian poets. Mandelstam included Mayakovsky among those Russian poets who are given to us “not for yesterday, not for tomorrow, but forever” (“Lunge”, 1924). Tsvetaeva also believed that Mayakovsky was not only a poet of his age, she wrote: “With his quick feet, Mayakovsky walked far beyond our present and somewhere around some turn he will be waiting for us for a long time” (1)
(1) M. Tsvetaeva Epos and lyrics modern Russia- M., 1932.
(2) O. Mandelstam. Lunge - M., 1924.
Pasternak, quoting the lines of the twenty-year-old Mayakovsky:
Though you, lame bogomaz,
paint my face
to the goddess of the freak of the century!
I'm lonely as the last eye
from a man going to the blind! -
remarked: “Time obeyed and did what he asked. His face is inscribed “in the goddess of the age.” Half a century that has passed since Pasternak said this confirmed the validity of his words: Mayakovsky entered the history of the century, took a prominent place on the Russian poetic Olympus. (one)
V. Kornilov, in his article “Not the world, but a myth”, written for the centenary of Mayakovsky, recognizing that the poet is “great and unique”, nevertheless believes that “the anniversary is useless, and it’s also not good to study it in high school what, in any case, the next half century. In the article, G. Mironova argues with him: “This is hardly true. Yes, it is still difficult to study Mayakovsky, but it is already clear that it is impossible to study the history of Russian poetry bypassing, omitting Mayakovsky. Now there is no doubt that Mayakovsky will "stand" despite all the accusations and revelations. (2)
(1) B. Pasternak People and positions. - M., 1956.
(2)N. Mironova Is Mayakovsky alive today? - M., 2003.- p.7.
But it is necessary to study it without obscuring its screaming contradictions, without turning a blind eye to failures in moral guidelines, to “voids”, separating genuine poetry from poems that were no longer viable at their birth.
It is possible to understand Mayakovsky's work, many of his motives and images, his strengths and weaknesses only if we consider him in the context of history, in the wide mainstream of contemporary literature.
Conclusion. Conclusions on the conducted research.
Mayakovsky's poetry is in many ways similar to the painting of the early 20th century, although the instrument of the artist of the word and the master of the brush is different. It is known that Vladimir Mayakovsky himself was a talented artist and painter.
Malevich, Kandinsky, Picasso, in their search for a new form on canvas, are close to the creative search for the verbal form of Mayakovsky. However, for Mayakovsky, the search for form was not an end in itself.
The roots of Mayakovsky's innovation can also be found in related areas of art, for example, in cinema. He liked to make his poems using the montage method, working with the word as with a film. Also, the innovative search for a new form was largely determined by the revolution. This new reality, according to Mayakovsky, had to correspond to poetry. Naturally, new intonations, aggressive notes, defiant poses appeared in his poems.
Summing up the results of the study, we can distinguish the following features of innovation in the poetry of V.V. Mayakovsky:
1. New types of rhyming line, subdivided into the following:
1. Crossover compound rhyme - the end of the line rhymes with the end of another and with the beginning of the third.
2. Spaced rhyme - the beginning and end of one line rhymes with the end of another.
3. Hidden rhyme - the initial or middle word of one line rhymes with the end of another.
2. expansion of the vocabulary of the poetic language, the introduction of political and revolutionary vocabulary into it, the widespread use of neologisms: sickle, hammer, cryo-lipped, etc.
3. The use of metaphor, sometimes literal.
4. Change in the rhythmic pattern of the verse associated with reading the verses aloud.
5. A special syntax of verses, where the main role is assigned to the noun.
Of course, the poet had his own failures, blunders and misconceptions, but he himself understood that not everything he wrote would remain in history. For example, he wrote such tragic lines:
agitprop stuck in the teeth,
scribble
romances on you, -
it is more profitable
and prettier.
becoming
own song.
Marina Tsvetaeva wrote about this: “No sovereign censor dealt with Pushkin like Vladimir Mayakovsky did with himself ... Mayakovsky ... ended stronger than with a lyrical poem - with a shot. Twelve years in a row, the man Mayakovsky killed Mayakovsky the poet in himself, on the thirteenth the poet got up and killed the man ... "(1)
It seems to us that we should join these words and, paying tribute to the talent of Vladimir Vladimirovich Mayakovsky, we should not consider his work outside the context of that difficult and tragic era, the product of which was the poet ...
(1) M. Tsvetaeva Epos and lyrics of modern Russia - M., 1932. - p.23.
References.
1. V. Kornilov - Not the world, but a myth - M.1986.
2. O. Mandelstam. Lunge - M., 1924.
3. N. Mironova - Is Mayakovsky alive today? - M., 2003.
4. B. Pasternak. - People and positions - M., 1956.
5. M. Tsvetaeva Epos and lyrics of modern Russia - M., 1932.
6. G.S. Cheremin Mayakovsky's Way to October. - M., 1975.
7. B.M. Eikhenbaum. On the poetry of Mayakovsky. - M., 1987.